PJJJM I: W N O V E M B E R - D E C E M B E R 1990 One hundred and ten years 1990 WILL BE REMEMBERED AS AN EVENTFUL YEAR. OUR FOCUS OF ATTENTION HAS BEEN DIRECTED TO ••A QUESTIONING OUR CULTURE. IDENTITY, HISTORY, CSA GALLERY ECONOMY, POLITICS AND FUTURE. THESE QUESTIONS AND A MULTIPLICITY OF VIEWPOINTS WERE THERE The Journal of the BEFORE 1990 AND WILL CONTINUE. THAT'S OBVIOUS, Canterbury Society BUT THE FOCUS EMPHASISED BY MASS MEDIA, of Arts 66 Gloucester "MAGIC MINUTES", "THE ISSUES", FORUMS, GAMES Street AND SO ON HEIGHTENS OUR SELF AWARENESS. IT PRESENTS AN OPPORTUNITY TO REFLECT, WANTED OR Phone (03) 667 261, NOT (A BIT LIKE THE MORNING AFTER THE 40TH (03) 667 167 Fax (03) 667 167 BIRTHDAY PARTY) ON WHO Wc ARE, AND WHY. FOR THIS ISSUE OF PREVIEW WE HAVE BEEN DELVING Gallery Hours INTO OUR SCRAPBOOKS TO PRESENT A BIRTHDAY Monday - Saturday 10am - 4.30pm ISSUE, THE CSA IS 110 YEARS OLD. WE HAVEN'T Sunday 2pm - ATTEMPTED TO WRITE A HISTORY OR ANALYSIS, ITS A 4.30pm COMPILATION OF IMPRESSIONS. IF YOU WANT AN HISTORICAL ACCOUNT OF 100 YEARS OF THE CSA LOOK TO OUR HISTORY AVAILABLE FROM THE GAL- DIRECTOR'S

THE TENDENCY HAS BEEN TO LOOK AT CON­ TROVERSIES, PERSONALITIES, ART, POLITICS AND COMEDY IN MORE RECENT YEARS. WE SOUGHT ANEC­ DOTES AND REMINISCENCES AND UNEARTHED PEREN­ NIAL ISSUES SUCH AS A NEW ART GALLERY FOR CHRISTCHURCH. WHILE ON THAT ONE CHRIST­ CHURCH MUST PROCEED WITH A NEW ART GALLERY AS SOON AS IS POSSIBLE. CHRISTCHURCH HAS GOT BEHIND MAJOR CAPITAL PROJECTS BEFORE SUCH AS QEII STADIUM AND THE REPORT TOWN HALL THAT

HAVE GIVEN IDENTITY TO THE CITY. SO TOO, CAN A NEW ART GALLERY THAT WILL EMPHASISE EASE OF ACCESS TO THE VISUAL ARTS WITHOUT COMPROMISING PRO­ FESSIONAL AND MUSEOLOGICAL STANDARDS. WITH ENTREPRENEURIAL SPIRIT AND VISION CHRIST­ CHURCH CAN HAVE A GALLERY THAT WILL STIMULATE ECONOMIC GROWTH BY ATTRACTING BUSINESS AND SKILLED PEOPLE (AND RETAINING THEM) TO A CITY WITH A BELIEF IN ITS FUTURE AND A COGENT EXPRESS­ ION OF ITS CULTURE. ENJOY THIS ISSUE OF PREVIEW HOPEFULLY AS MUCH AS WE DID PUTTING IT TOGETHER, ALSO REFLECTING ON WHAT ISSUE 300 MAY CONTAIN. HOPEFULLY SOMETHING MAY REMAIN Cover: Gallery Staff CONSTANT AND REMINDS ME OF WHAT ART CRITIC Photo Peter Bannan HAROLD ROSENBERG WHO WROTE FOR THE 'NEW YORKER' HAD SAID TO CALVIN TOMKINS WHO TOOK C.S.A Preview is registered OVER ROSENBERG'S COLUMN TWO YEARS AFTER HIS at SUDDEN DEATH IN 1978: Post Office Headquarters as a magazine. "REMEMBER, THE ART WORLD IS A COMEDY". ANDREW DRUMMOND

Views of an artwork using performance process which would give a visual narrative to and a performance in a court room. the performance. These photos would later be confiscated by the police, destroying the In 1977 when completeness of the work. I was asked Central to all this was to be my nakedness. to make a Firstly I saw that by being stretched naked and LOOKING work for the splayed I would be in a vulnerable and 'Platforms' exhibition supplicant position. This was misread by the organised by Martin complainants as lewd and anti-Christian. The Mendelsberg and John nakedness would, I though bring into the open Cousins for the Christchurch misconceptions associated with the crucifixion BACK Arts Festival show at and practically allow me to casttheskin. Later the CSA. I remember in court the art historical facts relating to seeing immediate nakedness and the crucifixion were to play an possibilities with the important role in my defence. X cross platform. I set The performance took place in a back TO THEabou t preparing a room upstairs at the CSA on a Sunday work using this afternoon and was attended by around 50 people. During the performance I seem to remember it being a rather hushed and CRUCIFIXION attentive crowd somewhat, I suppose, involved in this quiet slow drama. Nicholas Still acted as platform and integrating some of the relevant my assistant, applying the rubber latex to my issues in my practice, namely the use of skin, torso. Dr. Carol Miles acted as the technical in this case rubber latex, and ideas relating assistant, monitoring the ECG.Paul Jones docu­ to the spirituality of the crucifixion. mented proceedings using a polaroid camera. I made some decisions which were to The performance become contentious lasted about an hour in another context and at the end I but generally the ripped the skin from work was going to my body, unhooked consist of me using the ECG and left the my body to casta room to prepare for skin of rubber latex my trip home to while lashed naked Wellington. Some to the cross and to be days laterwhen I was linked to an ECG preparing to depart monitor which would for a show in relay my physical Australia I was condition to the notified that the audience. I was police had seized the hoping that by using polaroids from show the anxiety caused by attheCSAand had my physical laid charges against condition and ideas thegallery for of meditation and displaying offensive bio-feedback that I material. Also, and could use the process more immediate for of creating a skin to me was that the police be dramatised on the were about to lay video ECG image. charges against me This also provided for acting offensively the life linktothe in a public place. second part of the work which was to be the residue, the artefact — a latex skin. I immediately left the country so as to fulfil After casting the skin and shedding it I my obligations in Australia and to give myself planned to leave it on the cross with an timetothinkthisthrough. Surely in 1978this electronic beeper, giving a 78 per minute beat, couldn't happen? Well it could and still is suggesting that life was still ongoing. I also happening to artists who dare to challenge the planned to leave photo documentation of the status quo. ENLIGHTENMENT IS ILLUSIVE J* X0. • she duly read to the court. Somehow her 9gf> position, manner and attitude changed a rather sour course of \ events and injected into ' the proceedings a semb- lanceofquiet academia. The magistrate however, was not to be without his day and adjourned the case with a reserved decision. Two weeks later his decision was given in fourteen pages of summation in which he provided an insight into the nature of the judiciary. He found the work to be, in his opinion, crude, immoral, offensive and in bad taste; and dismissed the case against me, reflecting the double standards practised throughout society.

ILLUSIVE IS ENLIGHTENMENT

The second crucifixion was to be played out in the District Court in Wellington some months later. The QEII Arts Council had provided me with counsel and were paying the bills of what was a test case for a visual artist in New Zealand. The charges againstthe CSA were to be delayed pending the outcome of my trial. The pressure was on in more ways than one. Somehow I had to get the complainants to see thatthey had misread the situation and then over-reacted. They were young, born again Christians and could only seethe nakedness and totally ignored the notion of thecrucifixion and its meaning to them! Then I had to convince the magistrate that I was serious in my endeavour and not in the slightest bit in awe of his power. The drama unfolded slowly and my attitude of contempt towards the duality of standards did not endear me to either the magistrate or my counsel. The mould had been cast and there was to be no change. Various peoplefrom both sides took the stand to explain my actions. A memorable witness was Janet Geddes, a curatorial researcher from the National Art ANDREW DRUMMOND Gallery. She had prepared a short essay on the history of thecrucifixion and nakedness which SEPTEMBER 1990 Zealand to take up farming instead of medicine owning property near Lake Te Anau and later near Kaikoura. In thex Second World War he served 1961 the 6th Independent Mounted Rifle Squadron and then in Tonga. C.S.A. As an amateur painter Rusty met Yvonne Rust BARBARA AND who conducted classes for adult education and also attended the School of Fine Arts part time ANDRE BROOKE where he was tutored by Rudi Gopas, Jack Knight and W A Sutton. As lively and enthusiastic supporters of the visual arts in Canterbury, Barbara and Andre Brooke Rusty spoke positively of the minimal CSA ran the first Christchurch dealer gallery in Cashel staff and has affection and gratitude for the then Street in 1959. Their intention was to promote the Treasurer, Malcolm Ott. Leaving the CSA on his more original artists of the day and introduce new eightieth birthday Rusty made the following young talents, but unfortunately 'Gallery 91' statment in the gallery newsletter which still holds lasted only eleven months. for today. This venture was followed by Andre's brief 'I feel the CSA is pursuing its right and proper term as secretary of the Canterbury Society of Arts policy in encouraging debutant(e)s to have ex­ which Barbara took over in 1 961. During her four hibitions and in showing also the work of year term in this position prolonged discussions established artists and in providing a platform for were undertaken to design and build a new young musicians'. gallery in Gloucester Street. With a strong interest in local body affairs Barbara went on to become a member of the Christchurch Transport Board and whilst at the Caxton Press in the late 1960s became co-editor of 'Ascent', a journal the arts, For five years^fl before her untimely death in .1980 she established with Judith Gifford the Brooke/ Gifford Gallery continuing her drive to build bridges between artists and the public.

ANNELLA MACDOUGALL Annella MacDougall returned from a brief period of Art History study at the British Institute in Florence to take up the position of Director of the Canterbury Society of Arts for what was to be a very brief period in the mid 1970s. With valuable gallery RUSTY LAIDLAW experience gained in Melbourne Rusty Laidlaw was appointed secretary/manager and at the Serpentine Gallery in 1966 when Barbara Brooke left and his unique where she assisted in organ­ presence in the gallery is well remembered by ising an international video those who knew him. He traced his initial exhibition, Annella brought an response to the land through the sculptural forms image of youthful vitality to the of rocks and the colour of Central Otago where gallery and a desire to exhibit he grew up, although his involvement in art was to more craft. Some may remem­ come. Starting out as a medical student in Otago ber the successful craft shop she before joining the Medical Corps and serving in opened in Christchurch after the Gallipoli campaign. Rusty returned to New leaving the CSA Gallery in 1976 Annella now lives in Melbourne. 1928 Selection Committee (or Annual C.S.A. Exhibitions. 1986 CHRIS TAYLOR Nolo Barron was well known in Christchurch art Chris Taylor became director in 1986 after circles, both as a member of the Group and the teaching art and art history at Shirley Boy's High Canterbury Society of Arts Council when she School for three years. An honours graduate in succeeded Annella MacDougall as gallery direc­ photography from the School of Fine Arts at the tor in 1976. , Chris travelled and For ten years Nola's quiet assurance guided worked in Europe before returning to Christ­ exhibiting artists through countless exhibitions in church where he has exhibited both photographs a programme that often exceeded 90 individual and paintings. shows a year astounding not only overseas Under his administration a number of impor­ visitors but professional gallery people from tant changes have taken place at the CSA Gallery. other parts of New Zealand. The unique Along with a lively exhibitions programme has approach of combining up to six independent come the first major interior refit since the building exhibition openings became the hallmark of these was completed in 1968. Movable storage racks, years and still continues today. With a small group repainting, office extensions, new flooring and of committed staff the range of artworks exhibited relining of the lower galleries were completed in was extended with Nola's strong interest in 1988. Administration has also been brought up to promoting good craft. Nola herself is well known date with a computer, fax, and a business q» for her small bronze telephone system. Difficult economic conditions sculptures and as a over the last three years meant tighter financial % potter. From 1987- management which has been successful. Howev­ 1989 she was the er there has also been an increase in staff Canterbury Repre­ numbers, refurbishment of the collection and an sentative on the update of the CSA PREVIEW magazine under Council of the Chris Taylor's directorship. This has been New Zealand achieved whilst also increasing standards of Society of Potters. exhibition presentation, creating a stronger air of professionalism, reflected in the CSA's repre­ sentation on the Art Gallery Director's Council at executive level.

a,,r °om cJ9Jo P^monenf WE WROTE TO MEMBERS OF THE LOCAL ART rather a clash of exciting and controversial ideas COMMUNITY WHO HAVE BEEN INVOLVED WITH presented in visual display from the political, religious, feminist, man, woman, child viewpoint. THE CSA GALLERY FOR THEIR Provocative to many at times — but a thinking and debating point most needful in our everyday world! And who better than the artist — with love and humour to present it". THOUGHTS A memorable experience of the CSA — "The year 1962 was a milestone for me. After years in ON THE GALLERY. THE FOLLOWING QUESTIONS England, Canada and Italy I was invited to join my WERE ASKEORIF family in New Zealand. I came to Christchurch and set up a humble studio in an 'outhouse' on the WHAT KIND OF POSITION DO YOU THINK THE Cashmere Hills where I created a few more works to present as an invited guest with the Group Show CSA GALLERY HOLDS IN THE LOCAL ART in the old Durham Street Gallery of the CSA. COMMUNITY? Barbara Brooke was the director and was most welcoming and enthusiastic, also , Ida Lough, , Russell Clark and WHAT IN YOUR OPINION HAS BEEN THE MOST others. One of the works I presented was the UNUSUAL OR PROVOCATIVE EXHIBITION HELD bronze group 'Eclipse' cast in Italy from a wax AT THE CSA GALLERY-? model I made in my attic studio in Florence. Barbara Brooke bought it for the CSA permanent collection and it can still be viewed at the CSA DO YOU HAVE SOME PARTICULARLY MEMOR­ Gallery in Gloucester Street. I became a sculptor ABLE EXPERIENCE OR REMEMBER AN INTEREST­ member of the Group and the CSA. Several of those dear artist friends are no longer with us, and part of ING INCIDENT CONCERNING THE CSA THAT YOU my heart went with them. They were gifted and COULD RELATE? unforgettable, leaving us with beautiful works and memories that will live on in the very fabric of the dear old CSA Gallery". RIA BANCROFT Artist Ria sees the position of the CSA as "One of steady growth and influence in the cultural life of Christ­ church and Canterbury, as visualised by the far-seeing founders of the Canterbury Society of NOLA Arts over 100 years ago, and continuing the goals Director CSA 1977-1986 of annual exhibitions, growing in strength and "I don't think Christchurch people quite realise the quality, until over a thousand people exhibit their value of the CSA to the city. Overseas visitors are art each year. Today anyone may become a staggered that such a facility exists without public member at a modest cost, and share the wonderful funding and gives artists such superb opportunities advantages the gallery offers. In all the CSA to exhibit." Gallery has developed a valuable position in the Most provocative exhibition — "John Panting life of the local art scene". sculpture in whole gallery 1977, Andrew Drum- The most challenging exhibition — "I have mond's performance in the print room, photo­ seen it as much more than a one exhibition, but graphs seized, Anna Heinz installation in mezza­ nine in the early 80s, a fine feminine statement but ' \* very badly perceived by the public, Stephen Gleeson in his second year at art school, 'Riverbed Series' by Sydney Nolan '68, 'Ten Big Paintings' (included 'I AM'), Fine Crafts Show '77/78, The Group Shows especially in the Durham Street Gallery, Alan Caiger-Smith, English Potter, com­ plete sell-out 1977-78, 'Decorative and Lively Arts Exhibition 1966' suggested by Peter Beaven, col­ lected and organised by him and the Council in their opinion of good design — from bottled fruit to Danish furniture". A memorable experience — "Jan 1977, My first day as Director — walking into the office and not knowing what was in my drawer or file. I recall being in my small 2x3m office with Rudi Gopas trying to explain his formula for finding the volume of a truncated cone to myself and the president, Derek Hargreaves, eventually throwing his arms in the air and shouting 'I am surrounded by imbeciles!'. About 1978 — after heavy rain the upper North galleries and part of the Mair were flooded and all staff had to set to with buckets and mops to soak up water lying about 12mm deep over the area."

Ria Bancroft, 'Eclipse', Bronze, 1961, Purchased from Group Show 1964, 150gns, CSA Collection. A selection of Group Show Catalogue Covers.

DON BEAVEN group Chairman, Canterbury Area Health show Board, Arts Advocate "I would like to feel that the local art community see the CSA as supportive of both artists, art lovers and buyers." Don found the most challenging shows held at DAVID the CSA to be the '' exhibition 2 or 3 years ago. the 'United Modern Masters' exhibition BROKENSHIRE Potter and "perhaps the best a Doris Lusk retrospective of "I think the gallery holds an ambivalent position 3 years ago". between the dealer galleries on the one hand and A particularly memorable experience of the public art gallery on the other. By artists I often hear CSA for Don Beaven was when he proposed to his it derided — not often praised. Yet by the public at wife after having been to a "very stimulating large I feel it is accepted as a worthy institution exhibition at the CSA". providing interesting exhibitions. As a 'society' I feel that the increasing professionalism of the gallery is creating a cold atmosphere at odds with the 'club' feeling of early days in the Durham Street PETER BEAVEN galleries". Architect Most unusual exhibition — "The exposition of Peter Beaven finds the position of the CSA Gallery printing when the complete building was taken over in the local art community to be "Regional, by paper, whirring machines and excited children. indigenous, obvious opportunity for local people to The children arrived by the busload and departed find themselves at their own time and on their own clutching armloads of paper. terms. It is a testing ground of any talent and I recall with nostalgia the excitement of open­ uniqueness". ing nights of the "Group Show" — All those years A memorable experience of the CSA — The of provocative art — the pressing throngs and the struggle which I and John Oakley led about the new beautiful people often dressed as outrageously as gallery design and site, we always believed and the works in the gallery". still do that the old Provincial Buildings should be the CSA Gallery with suitable alterations. We went to Wellington, had open days in the old building and Tom Field made a splendid model which MICHAEL EATON received much acclaim. Stewart Mair was too Artist strong and finally the existing building appeared. If "The gallery, I feel is held in high regard by the it had been an open vote, and if the usual Christchurch public if not some artists even though bureaucratic delays had been less normal we might the dealer galleries here gained a prominent now have a superb romantic gallery overlooking position over the last ten years. While it is difficult the river — art right in the city instead of a narrow to maintain high standards at times because of its plot. . . and it helped to save the old wooden society status jt continues to present a wide and buildings and even now there is no real use for the comprehensive range of exhibitions by both building. Provincial society never operates to the young, old, experimental and experienced artists. finest hour" Some local artists are concerned that more local work is not promoted by the selling gallery". Michael found the most unusual or provoca­ tive exhibitions held at the CSA to be: "This may W>! "'.-J».?.< date me . . . 20/20 Vision exhibitions of the 1960s in the old gallery (the brain child of John Coley) where the young local artists presented new art Drawing by forms to the Christchurch public creating at that -eo Bensemann, time a lot of correspondence in the local press". A used for Group memorable experience of the CSA — "During one Show Cover of the last black tie Presidents Exhibitions in the 1955. late 1970s a half dozen skin heads and punks, two with swastikas tattooed on theirarms, tried to gain entry to the gallery on opening night without invitations. When some of the Council members tried to stop them they were greeted with the Provincial Council words — 'Fascist Pigs' ." Buildings

Michael Eaton JOANNA VAN ALAN PEARSON Artist ANKEREN # Alan considers the CSA to be "The citizens' 'Joannas' Craft Shop, Christchurch gallery". He found 'Art on Video 1990' to be the most provocative exhibition held at the gallery. "In the 1970s when Rusty Laidlaw was Secretary of A memorable experience of the CSA for Alan the CSA there was a unique atmosphere of was "Being in an exhibition in the last Group informality. Rusty had a charisma which drew show, 1977 but listed in the catalogue as 'not a interesting people from far and near. The office Group member'. This was pointed out to me by table was frequently converted for lunches and Tony Fomison during a conversation we had informative conversation. together in 1985 on the topic of Xenophobia in The CSA has moved of course with economic Arcadia". times into a multifunctional operation reaching further into the community with selling gallery, hire services, educational facilities and the performing arts. The gallery is ideally located and will be an DAVID B asset to the proposed Worcester Street Boulevard. The CSA and the community have much to look forward to. SHEPPARD For me, one of the most unusal and memorable Architect and current President of CSA exhibitions at the CSA was 'Canterbury Confronta­ "The Canterbury Society of Arts is recognised by tions' held in conjunction with the 1974 Common­ the local art community as a key promoter and wealth Games. Leading Canterbury artists were supporter of the arts in Canterbury. It remains an paired off to do portraits of each other, with organisation unique in the region whose underlying surprising results. The exhibition gave to the public objective is to foster the involvement in and an interesting insight into the perception of the enjoyment of the arts and in particular to encour­ artist's versatility. One of the most striking portraits age young artists by providing gallery space for was a study of John Coley by Leo Bensemem. display of their works to the art community and the My family was involved with the CSA in the broader public. The Society imposes few restric­ early 1920s. My grandfather, E C Huie was tions on the types of works which may be shown. president 1923-4 and my grandmother Dagmar Though today it may not benefit financially or in Huie was a painter and close friend of Elizabeth membership numbers from its reputation, it is a Wallwork — they painted together. At this time E C strong and important body in Canterbury and I Huie was editor of the 'Sun' and wrote political believe it will remain so in the future. articles under the pen name of Peter Simple. His The gallery has hosted an immense number of wife Dagmar was reviewing CSA exhibitions for the exhibitions over the years and the content has been same publication so discreetly signed herself PSW extremely varied. I find it difficult to identify the (Peter Simple's Wife). My grandparents suffered a most unusal or provocative exhibition held and am tragedy one night while attending a fancy dress content to_ look back in my mind over the pleasing party at the CSA with their children. They were diversity of the shows and some of the fine works called away with the news that their home on exhibited. I have enjoyed those exhibitions which Cashmere was on fire and sadly nothing was have exploited to the full the quality of the gallery saved. The devastated family were left in the spaces and those which have shown large works proverbial clothes they stood up in. My mother where the viewer and other viewers become deeply mourned the loss of her silkworms". participants in the display In my thirteen or so years Joanna Van Ankeren of involvement with the CSA Council my memorable A. experiences have included meeting and working closely with numerous personalities in the local art community. I cite Doris Lusk and Olivia Spencer Bower,

my two predecessors and the David Shoppardl many characters who have worked with or exhibited through the gallery". i

TONY GEDDES: Designer, Court Theatre The position of the CSA — "I really don't know. When I worked there the thing that struck me was what a good place it was to meet people". Most challenging exhibition — "In the period I was working at the CSA perhaps 'Ten Big Paintings', the fact that the Colin McCahon painting went on to become the famous gift to Australia years later and signaled his elevation as the New Zealand wonder painter I find fascinat­ ing. What happened to the other nine big paintings I wonder? Tony Fomison's exhibitions, Bruce Edgar's exhibition of Kinetic Sculpture, Billy Apple's emptying of the Print Gallery. Memorable experience — "Most of my memories are involved with Rusty Laidlaw — farmer, soldier, painter, gardener and one of the most delightful people I have met. Whether talking people into buying art or carrying huge piles of concrete blocks at age 80 he was a person of the greatest energy and charm".

The CSA Gallery. Artist "The CSA performs a most important role within the community. It provides good space for the more ambitious sculptural exhibitions and also the wall space for large paintings. It acts as an encouragement for people to develop the habit of responding to art and gives many the opportunity to show work which might not be always acceptable in the dealer gallery space". From "When Art Hits the Headlines" by Jim and Mary Barr The most challenging exhibition — "The Andrew Drummond performance during the 'Plat­ forms' exhibition in March 1978. JOHN SIMPSON , 'Exhausted Athlete', Bronze, Purchased from Group Retired Professor and Head of School of Show 1964, 35gns, CSA Collection. Fine Arts, University of Canterbury "The position of the CSA and its gallery has altered over the years. For the greater period it in itself provided all the functions, duties and services now handled by a city gallery (McDougall) and various dealer galleries. It has and continues to provide a platform for makers of things ranging from talented and thus relatively inexperienced youth right through to uncrabbed age. This work has been much helped by the generous conditions it offers exhibitors keeping costs very low and close to a minimum. For a city the size of Christchurch the CSA offers a range of support and service to makers and to the public which would be the envy of similar sized com­ munities in North America, the UK and many of TOM TAYLOR: the countries in Europe". Most challenging exhibition — "The DANZ Senior Lecturer, School of Fine Arts, exhibition of industrially produced consumer University of Canterbury goods, designed and made in New Zealand, treated as works of art — probably a first in New The position held by the CSA Gallery in the local art Zealand, The Exhibition of Contemporary Italian community — "It gives the impression that there Sculpture, superbly mounted in a completely exists no distinction between amateur and profes­ transformed Durham Street gallery by Mr T J sional practice in the arts — somewhat ambiguous. Taylor, The 20/20 exhibition with all its attendant If its prestigious space was associated with more frolics and 'circus acts', the first Hay's Prize critical assessment of what is to be displayed, Exhibition of Painting, Performance works by distinction in two categories would be effective". University of Canterbury Dip FA examination Most challenging exhibition — "No one ex­ candidates, some involving ritualistic sequences hibition but John Cousins' performance, 'Plat­ using blood". forms', Leon Narbey's light sculpture to name but a few. A memorable experience — "A book would Memorable person — Rusty Laidlaw. Memor­ be needed to dilate upon W S Baverstock's ploys able occasion — "The auction of my 'Palladium with the President and Council of the CSA ca. Submission' with a drunken auctioneer and, the 1950-1964. Then there was the evening dress hoist failing with Laidlaw swinging in the large affair of the official opening of an important trolley — he was quite brave!" exhibition of Canterbury painting where the "Platforms" Poster principle speaker was to be Colin Lovell Smith. When Colin rose to address a hushed expectant throng aglitter with jewels, Colin said 'paintings are to be looked at — not talked about' and sat down! A model of brevity. All official speakers please take note. PIATFOR llilln ni '.i UIMMI|K HI wliK h.i »i imkrs.i M.IIKI. Then of course there were the cases of An exhibition erf IS Ommtkuwi Miuctufa by Nw» Zaaland artists. exhibitors removing one or more works (usually after reading something in ) without CSA Gallery. March 5-18 78 telling anybody what they were doing or had already done with the inevitable sequence of reports of works being stolen to the police and local newspapers and inevitable Gilbertian antics with the WBS appearing uncomfortably like a character from a Lewis Carrol book".

"A Clerical Error 1929" Drawing by W. Baverstoclc

These responses are those re­ ceived from 40 requests for thoughts sent to members of the local art community. Thanks to those who responded to our questionaire. E C . S . A . S O memories

The shapes later predominate in cubism (on a The CSA Symbols mistaken translation by Picasso and Braque from a letter by Ceranne . 'all of nature is constructed The following article appeared from the sphere, the cone and the cylinder ') in "CSA News" No.8, July 1966:

OUR SYMBOLS The three basic shapes, circle, square and triangle from which all other shapes develop and modify evolved as magical symbols with early man. The four elements (including the tilted square! described by Hypocrates were:

Element Water Humour Phlegm Temperament Phlegmatic Season Winter Condition Solid Quality Cold/Moist O In American hobo language it penetrates even down to the lowest income bracket as it is scrawled Element Fire on walls and fences Humour Black Bile Temperament Melancholic Season Autumn Condition Dense Quality Cold/Dry

Element Air Humour Blood "This house is "No liquor is "there is a Temperament Sanguine good for a available in this man here with Season Summer meal." town." a gun " Condition Liquid I The inverted Quality Hot/Moist pitcher)

Element Earth Humour Yellow Bile Temperament Choleric In October 1948 the Season Spring Condition Gaseous CSA was caught in the Quality Hot/Dry middle of a factional

These appear again in the religions of the Middle battle of the local art world known as the Ages "Pleasure Garden" Incident.

"The sends six pointings by expatri­ ate artist Frances Hodgkins to the Canterbury Society of Arts for possible purchase. The paintings are exhibited with, although separate from the 1 948 Group show . . . The Council of the society decides any of the paintings would be inappropriate for its collection and determines to use its funds 'more God, Eternity. The world The three wisely'." No beginning and nature personalities and no end. of God. (Jim and Mary Barr, "When Art Hits the Headlines, Wellington 1987.) 'The Press' burgeoned Sir — It does happen that Sir — During the previous The work was offered to every now and then in this controversy over the Frances with letters in support of country that some indepen­ Hodgkins paintings I went to the McDougall several dent spirit dares to create the Robert McDougall Art the paintings by artists something new, and in doing Gallery to see what they had more times and rejected so, disturbs the peace of the that she had not. Two hours repeatedly until such as , dead. Once it was so with study of the collection made Frances Hodgkins and it is so Doris Lusk, Theo it obvious that apart from a September 1951. The even now. The dead are still, stultifying technical efficien­ Schoon and Colin and always with us; expect no cy Miss Hodgkins has much work is finally hung in more from them than decay that is lacking in many of McCahon along with and fear of life, not apprecia­ those painters. As the latter the Robert McDougall tion and not thankfulness. work of this emerged like a letters of differing The dead are unaware of the free and colourful butterfly Art Gallery on 28 flower growing above them, from the chrysalis of such opinions from the so can we expect more from technical bondage, naturally February 1952. the Canterbury Art Society her painting does not con­ general public: than we receive, the smell of form to the moribund formu­ death. Can we expect the las of many honoured with dead to be alive to the worth representation in our gallery. of Frances Hodgkins paint­ To have "The Pleasure Gar­ ings. den", a watercolour selected We ask too much — Yours by the British Council, re­ etc. fused on behalf of the city by COLIN McCAHON three men well known for Nov 22 1948 their implacable antipathy to any work outside the narrow limits of the realism of the art schools is a significant expo­ sure of the administration of local art affairs. Yours etc. DORIS LUSK June 30, 1949

In 1949 Margaret Sir — I heartily endorse the action of the by-laws commit­ Frankel, formerly of the tee of the Christchurch City Council and the members of CSA committee, the advisory committee in their rejection of the gift launched a subscription painting, "The Pleasure Gar­ den", by Frances Hodgkins. to raise 94 Pounds and 10 The artist may have been In 1962 . . . "The Letting of the Canterbury Shillings to purchase described in England as one of our greatest contemporary Society of Arts Durham Street Art Gallery for "Pleasure Garden" to painters at the time of her death, but is that any reason an anti-communist exhibition results in heated gift to the city for the why a picture such as "The debate and resignations. Pleasure Garden" should Robert McDougall find a place in the McDougall The exhibition is organised by the Christchurch gallery? I seem to recall that Committee for the Assembly of Captive European Collection. The work only recently English critics Nations and is designed to show Soviet imperial­ ism from 1917 - 1956. Mr E J Doudney, vice was rejected by the were loud in their praise of the infantile daubings of a six president of the CSA, resigns asserting that the by-laws committee of year old boy who splashed exhibition has nothing whatsoever to do with art colour on a large sheet of and can only stir up hatred. At a lecture held in the Christchurch City paper and added to the conjunction with the exhibition a sergeant of police general effect by sitting a cat will tell a 200 strong audience 'I will have no Council which in the middle of the mess. interjections. Anyone who interjects is out. If Yours etc. anyone here doesn't like that, they can get out administered the now.' This followed a forcible ejection and charge LOVER OF TRUE ART of assault at a previous incident at the exhibition. McDougall Art Gallery. June 18, 1949 Mr W H Hunter, chairman of the exhibition organising committee, emphasises that 'none of This gave rise to a the exiles except myself was involved in the ejection. 'This had been done by four or five New renewed flood of letters Zealanders.' " (Jim and Mary Barr, "When Art Hits to the paper: the Headlines, Wellington 1987.) 16 THE PRESS. SATURDAY. MAY 22, 1965. Art Gailerv Site To Be Reinvestigated 1965-The CSA Council is divided over The Canterbury Society of Arts Council affirmed last evening that the Provincial Council area was the best site for a possible sites for the new new gallery if it was available on terms acceptable to the society. gallery: A stay in other negotiations will be made for up to three months to permit further investigation of this projeet. The president (Mr eil. the society will proceed' would resign immediately In to obtain another site." ; the event of "certain things GALLERY S. E. Mair) issued the Mr Mair also revealed that happening this evening." following brief state­ other sites under constdera- After the meeting everybody SITE ment after a two-hour Uon are 66 Gloucester street seemed happy, council meeting last and 252-254 Montreal street.; It is understood that some but he emphasised that therei members of the council have evening:— could be others and the icoeil private appointment in Wei- "The council decided ' that wa* "still wide open." lington ne\t week with the \rts Society It would investigate further! The full council meeting I Minister of Lands (Mr Ger- the availability of an area last evening broke up amidard> to discuss access to the Discussion near the Provincial Council unconcealed expressions of Provincial Council site, buildings but. if at the end relief that discussions had not * Tne council itself will also •jf three m --Her iticome to a deadlock. make formal inquiries do. the iss,,e s0 that the Dev;l ound that •K»r in the dav certain *•*>« M us «i"mcil had discussion about a new gal- an not be : hour* and nCW (or » ,nrit of srms acc< lerv will have a clear state- sites of the couw Site for j whether the site Society , | made available and. Canterbury - et»i t me New ;n what conditions, irlier statements Mr lis expressed his own lat the society must

ir ery •eehold site so that, if were S. E. «» ' Still ry, it can borrow addi- sident iB P s money for building or i» s *«* M Seri»«*: n n To be ispose of it if require- changed in the future council has set no date - w Jecided SS85S i*f" * * irther discussions of the E sites for the Canterbury Societv gallery question. These the council were t reached. of Arts' new gallery were discussed at a ••Three I ,n %v as be held as soon as more meeting of the council of the society last night, ination is available or, at but no dec but no finality was reached. Among the sites latest, in three months. Asked discussed was the area on the river hank front­ i age of the Provincial Council Chamt>»— ee been s»jtt-,? The meeting was adio»»-— ..ves-. at «*« \te whole ••wide open" • , • •.. '* SSL A He, news stieh i freehold orro u a site »'onaiSUm mod "Member, . ; 0{ f;:": . .* the «M the fu( ' no old council HlVve "so , ' r"ow * •HHSBHOi gal -»oeia.' gallery /or and scr.

and ti ming arc s of i(S should erect

. —..via mole to the society have been —« any restriction.;obtained by the "co-operation i had become possible now, | of the trustees of the Pro- the first time in the soc-vincial Council Chambers eighty or more years of themselves uhe Canterbury (members of Part*— the as alreadcnarn,jery clea - thas t LII' »•"«I » and U, ^UshopaodPnntroom e SOid Tlf^htha t he Another Sit 'CSA News" No. 18, 1968 I did becomp - fa _ the soc,-

1 to settle 2J nij;h( L

on another s SOd; Sfreet Mi o/d ani "the obinioii. said 3f Tom Taylor wins the first Subsequent recipients:

CSA Guthrev An Travel Award 1967 - Quentin MacFarlane 1982 John Hurrell 1968 - Graham Barton 1983 Anne Field 1969 - C.R. Newton-Broad 1984 Edward Sunderland 1970 - Doris Holland 1985 Peter Bannan 1976 - Bashir Baraki 1986 Josie Jay Sculptor Wins Art Grant Lingard 1977 - D. Brokenshire 1987 1978 - Neil Dawson 1988 Michael Reed Travel Award 1979 - Janet Bathgate 1989 Michael Armstrong 1980 - Margaret Hudson-Ware 1990 Murray Hedwig

(M 1981 - Jocelyn Allison Sec

ter New Zealand's first S, exhibition of authentic Maori rock drawings is held at the CSA Gallery: ROCK DRAWINGS FOR CITY SHOW A YOUNG Christchurch man's decision to combine his interests MH TAYLOR in art and archaeology has led to New Zealand's first exhibition of authentic Maori rock drawings, to be held a* the Canterbury Society ot Arts Gallery, Gloucester Street, next month

Valuable

Combined

The at d l fel •r.h coll T»*y Fomison wttfc same of drawings, r-oid Mr Tony; von id he t oour the Maori rack drawing* to Fomison, started on .ledge of Ibis ve be displayed at the Canter­ while studying at the Uafver bury Society ol Arta flaUrry sity of Canterbury School of In Gtoncevier Street. Tony Fine Arts about ten years ago. traced I be drawiaga on to "I was interested i" arcb- inti'-titeiir from originate aeoiegy as well as art, and done bv early Maori* on 1 decided lo eombfise the two rork* throughout the South and roneetttraie on reek Inland. TOP: A raupo rail, drawmga,'* tie said to-day. the tyac used for ri«*- lie amiimd with his rrosabig. It tracings while employed m the sfafi of the Cunt' Mw&um, bat sfc&jsfn?d for tfcrefe years arid a bail <*?h#<; seas, initial'*' ' The CSA Donation Box Pictured in The Press:

I \l >l VI. ( Ul.l i

Wanted: 40 motor­ cycles for hanging / Motorcycles in the Mair? If anyone has 40 motor- C.S.A. uses to lift exhibits e . cyclen s to spare for a few is too small to take the <*— 4, Mr W. Coltison, a motor-cycles safely, and by stchurch fine arts stud- the time that Mr Collison would like to borrow had thought of an alterna­ tive—covering the "*"' with planks the mach cratr- K$ n he ° >'jal J!">UHt

Ur e ..A m„, ' nb)e feecair thinJ., aftot,, ,'s to the 5 ss*fC^Sb>*»t^o FRIVOLITY OLk T OF The CSA is approached to examine CHARACTER' f.V.3. Press Association) to many people, it canto In sites for a of the Mackenzie Country. , Jan. 26. That resolution will be for some caustic criticism sent to the Mackenzie from several members. sculpture, offered on Modern art—In the form County Council. "I wish to be rude about of Henry Moore's "Sheep "It Is not a type of sheep It," said Mr D. M. C. Bur­ loan to Christchurch. Piece"—took a beating at that has made this area," nett, who said the history Tekapo yesterday. said Mr J. A. P. Cameron, of the Mackenzie Country The work entitled who moved the resolution, was a history of hard win­ Only one Mackenzie which was seconded by Mr ters and hard work. "Sheep Piece II", a branch member of Feder­ B. Scott, the branch chair­ "To introduce a frivolous ated Farmers voted against man. picture into the district is 14ft high sculpture of a a resolution to keep the Because the sculpture entirely out of character," British sculptor's work out does not resemble a sheep he said. sheep in abstract form was designed to be placed in an open paddock where sheep could graze around it. A proposed site on the Summit Road was turned down by the Regional Planning Authority and the subse­ quent proposal for the piece to be sited in the Mackenzie Country met with oppoistion from the Mackenzie branch of Federated Farmers: In 1978 another effort to place the work in the Mackenzie Country also failed.

1974 — "Art New Zealand 74", a large exhibition incorporating painting, printmak­ ing, pottery, jewellery, sculpture and weav­ ing is staged at the CSA Gallery as part of the Commonwealth Games Celebrations. f J In 1975 a work by conceptual artist, Billy Apple involved the removal of all f ( extraneous articles from the CSA Gallery Print Room. One piano, one piano f stool, one chair, four picture hooks, two ash trays, 93 nails, 82 pins and 28 staples were taken from the room resulting in one clean empty room with only the centre spotlights trained on the floor and an inventory of the removed items pinned to one wall. The work examined the traditional concept of an being painted, sculpted or constructed works hung or placed in a special gallery space. Billy Apple was concerned in this piece with the treatment of the space itself as an art object. Of course not everyone agreed with this:

Sir — Who is Mr Coley fooling? He applauds ex­ patriate Billy Apple's work but not everyone who visited his last "show" at the CSA would agree. Mr Coley might call it subtractive. producing a 'tranquil and meditative mood' but this viewer found it a mighty con. IS IT ART?

Billy Apple installation, CSA Print Gallery

Members of the Christchurch public were ruffled again in 1978 over a performance work entitled 'Crucifixion' by Andrew Drummond staged

at the CSA. This performance provoked •ft considerable discussion in 'Letters ^0^^^ to the Editor' columns of local newspapers: f0^°

e**L*A»

VJ&V^ \\s>f ^.^e V

Shoji Hamada 'Bottle', Stoneware, 1960s, CSA Collection. ,y\e CO* gallery stall MIXED MEDIA C.S.A. LIST OF CSA Guthrey Award PRESIDENTS Gallery Director T990 Recipient: 1880-1990 Chris Taylor Murray Hedwig Consultants Rona Rose Murray Hedwig is the 1990 reci­ 1880 1882 H J Tancred Grant Banbury Dip FA (Hons) pient of the CSA Guthrey Award. 1883 G Gould Exhibitions Officer Murray is a photographer with a 1884 H P Lance Blair Jackson BFA national reputation. He is current­ 1885- 1892 R Beetham Gallery Assistant ly tutor in photography and com­ 1893- 1901 Hon E C G Stevens Spencer Pullon BFA puter graphics at Christchurch 1902- 1904 R D Thomas Accounts Polytechnic. Murray has exhibited 1905 1907 Dr Jennings widely in both solo and group 1908 Grania McKenzie BA W H Montgomery exhibitions and his photographs 1909 Office/Editor 1910 J Jamieson are in the collection of the Auck­ 1911 Suzi Melhop BA (Hons) 1912 R Reece land, National, Manawatu, 1913 Design 1915 Hon E C G Stevens Robert McDougal and Dowse 1916 Megan Gainsford W Menzies Gibb Galleries. Murray Hedwig is the 1917 McGregor Wright second photographer to receive 1918 1920 N L MacBeth the award since its inception in 1921 1922 Dr G M L Lester council 1966, the first being Peter Bannan 1923 1924 E C Huie (Mrs) in 1985. He intends to visit Sydney, 1925 1926 R Bell Melbourne and Canberra to look 1927 Patron 1928 R Wallwork at collections, galleries and 1929 His Excellency The Governer 1931 C J R Williams photography courses 1932 General The Most Reverend 1934 Dr G M L Lester 1935 Sir Paul Reeves GCMG 1936 Sydney L Thompson 1937 DCL(Oxon) 1940 Geoffrey H Wood 1941 President 1942 Dr J Guthrie 1943 1944 David Sheppard ANZIA MNZPI Archibald F Nicoll 1945 1951 Vice Presidents A E Flower 1952 1955 Bill Cumming C S Lovell-Smith 1956 1958 Jewel Oliver A A G Reed 1959 1961 Alison Ryde TTC G C C Sandston 1962 1964 John Coley Dip FA Dip Tchg Paul Pascoe 1965 1969 MBE Mr Stewart E Mair 1970 1971 W J Parsons BCom ACA John Oakley 1972 1977 F John Mackintosh LLB 1978 1980 D J Hargreaves Councillors 1981 1982 Olivia Spencer Bower Penny Orme BA (Hons) 1982 1987 Doris Holland Simon Marks BALLB (Hons) 1988- David Page BSc (Hons) Murray Hedwig David Sheppard Ian Harvey MSIAD Grant Banbury Dip FA (Hons) The CSA Gallery T-Shirt CSA COUNCIL Simon Ogden MARCA Design Competition Anne Betts BA Dip Cont Ed Dip Section A — Primary and In­ Tchg termediate Students Hon Secretary KATE KEMPTHORNE SINCE 1983 Bruce Finnerty Fendalton School Grant Banbury, Nola Barron, Pe­ Hon Treasurer 8 years ter Beaven, Anne Betts, John Col­ John Wilson ACA Section B — Secondary Students ey, Bill Cumming, Jill Dando, Auditor KIRSTEN NEWMAN Michael Eaton, Michael Ebel, Peat Marwick Papanui High School Bruce Finnerty, Derek Har­ 13 years greaves, lain Harvey, Doris Section C — Tertiary Level Stu­ Holland, John Hurrell, dents Josie Jay, John JENNIFER LAUTUSI Mackintosh, Christchurch Polytechnic Simon Marks, Peter Davidson The overall winner is KIRSTEN Simon Ogden, Rex King Jewel Oliver, NEWMAN and her T-shirt design Vi, Penny Orme, will be printed as the 1991 CSA David Page, Bill Gallery T-shirt. She will also re­ Parsons, Fergus Pat- ceive a Sony walkman radio/ erson, Alison Ryde cassette player. The winner of David Sheppard, each category will receive a free Simon Stanmers-Smith, family membership to the CSA Chris Taylor, John Tren- Gallery for one year, a free T-shirt grove, John Vial, Raymond and a compact disk or record John Wilson. Mclntyre, voucher to the value of $35. Self Portrait, •I on canvas, Robert McLeod, Lanark No. 76 S.A. Doodle 3, 1985, Mixed media, CSA c. 1911-12, Collection. CSA Collection. 1 "ROLL OF SERVICE" LIFE MEMBERS The following people have work­ Life Members of the CSA ed at the CSA since 1970. Thanks Miss Rosemary Aitken to: Mrs F.M. Alexander Kathy Anderson, Grant Banbury, Mrs J.J. Allison Nolo Barron, Sabra Bishop, A. J. Mrs Atkinson 0 Bisley, Virginia Blakely, Rudi Mrs Juliet Barker Boelee, Joanna Braithwaite, Nikki Dr and Mrs J.T.S. Buchan Brown, Rob Buck, Christine Cal- Mrs M.J. Couper linghan, Maxine Choat, Sue Mrs A.E. Craig Cooke, Shane Cotton, Elizabeth Mrs M.D. Cranko Crawley, Nan Crawley, Sharyn Mr and Mrs E.A. Crothall Creighton, Natham Crossan, Mr William Deans Geoff Dixon, Michael Ebel, Nico­ Ms J.M. Deans la Everett, Robbie Ferguson, Tony Mr T.C. Esplin Fomison, Richard Forstner, Kate Dr and Mrs H.G. Gossett Fraser, Neil Frazer, Megan Miss Jennifer Gray Gainsford, Tony Geddes, Allan Mrs H.C. Greenwood Gillespie, Kerry Godfrey, Peter Mrs J.D.M. Johnston Gray, Mike Herron, Blair Jack­ Miss J.K. Mahar son, Josie Jay Martin, Louise Miss Eileen Mayo Johns, Suzanne Johnson, Fleur Mr and Mrs Clutha Mackenzie Jones, Rusty Laidlow, Allan Lang- Mr and Mrs Ewen McCann mead, Ralph Lawrence, Jenny le Mrs E.M. McCutcheon Cren, Annella MacDougall, Kim Mr Malcolm Ott J H Foley R.A., 'Caractacus' 1880's, Macintosh, Jane MacLeod, Eli­ Miss Gwen E. Rankin Bronze 1860, Presented to the CSA by zabeth Marsh, John Martin, Gra- Rev. B.O. Richards Trustees of the late J M Hey wood, CSA nia McKenzie, M. McLean, S. Collection. Mrs P.G. Scott McMillan, Suzi Melhop, Diane Mrs D.L. Steven Chambers Nicholls Miller, Deborah Nation, Astrid Mr and Mrs P.C. Straubel Deloitte Ross Tohmatsu Neumann, John Newton, Kay Mr and Mrs J.C. Turner Hamilton Hindin & Greene Nicoll, Michelle Nixon, Delia Miss D.H. Tutill Hargreaves & Felton O'Callaghan, Collen O'Connor, Hill, Lee & Scott Emily O'Connor, Carol Osborne, A.M. Walker Mr and Mrs D.L.C. Webley James Dunlop & Co Ltd Jill Parsonson, Spencer Pullon, Papanui Medical Centre Barbara Robinson, Rona Rose, Raymond, Donnelly & Co Wilhelm Ruifrok, George Scan- CORPORATE Saatchi & Saatchi Ltd drett, Stephen Small, Robin Smith, The Christchurch Club Peter Stephen, Christopher Uniflex Packaging Co Ltd Taylor, Guy Treadgold, Lee Trust- The C.S.A. Gallery acknowledges B.P. Oil N.Z. Ltd turn, JohnTullet, Joanna Van Ank- the support of its corporate mem­ Trusteebank Canterbury eren, Paul Van den Bergh, Bianca bers: Caltex Oil N.Z. Ltd Van Rangelrooy, Thomas Anthony Harper Harcourts Real Estate Ltd Vaughan, Peter Wareing, Kathy Robert Brown Real Estate Watson, Evan Webb, Ann Wil­ Boyd Knight & Company Buddie Findlay Westpac Banking Corp. liams, Bernice Wilson, Tonni Wo- Price Waterhouse jtas. Campbell Hamann & Partners

CSA Staff — (left to Right) Sharyn Creighton , Grant Banbury, Grania McKenzie, Chris Taylor, Spencer Pullon, Suzi Melhop, Blair Jackson. Absenf Rona Rose. C.S.A. EXHIBITIONS -25 NOVEMBER PREVIEWS WEDNESDAY 7 NOVEMBER 8pm

GRAPHICS ties of the 1970s. This exciting RECENT show includes works by Georg OF THE 70s Baselitz, Bernhard and Hilla WORKS FROM FEDERAL REPUBLIC OF GER­ Becher, Joseph Beuys, Hanne MANY Darboven, Gotthard Graubner, STOCK 'Graphics of the '70s' presents Imi Knoebel, Blinky Palermo, A R examples of Twentieth Century Pench, Sigmar Polke, Gerhard German art concentrating upon Richter, Klaus Rinke, Dieter Roth, Gretchen Albrecht, "Study for Myster­ the significant stylistic character Ulrich Ruckriem, Walter Stohrer ies/Correspondences 1983, Waterco- lour on paper and distinctive artistic personali­ and Franz Erhard Walther.

Sheet VIII from Portfolio "Primeval End Standart" 1972, Screenprint, A R Penck

28 NOVEMBER - 9 DECEMBER 1990 PREVIEWS TUESDAY 27 NOVEMBER 8pm

LINDA HART ANDJUDY VAUGHAN PAINTINGS "Mind Over Matter" is the title of an exhibition by Linda Hart and Judy Vaughan. In the works of Linda Hart the imagery of land­ scape is used in the manner of still life— ordered, weatherless, con­ stant. Different moods are created in the works by the artist's ex­ ploration of varying combinations of pictorial elements. Judy Vaughan presents works in oils for which the subject matter is provided by family and friends. She is concerned with depicting TIMECKART the day to day life of the people "Barry and Carmel" oil on board, she knows well. Judy Vaughan CERAMICS • JOSIE JAY- ANNE IAN SCOTT RECENT PAINTINGS MARTIN DONAVAN 'In his new paintings Ian Scott continues to appropriate images, PAINTINGS WATERCOLOURS now for both background and Josie Jay-Martin spent from June The work in this exhibition is a • foreground. In one series of works to September 1990 in Europe, result of influences derived from repeated screenprinted photo­ attending a six week art workshop Anne Donovan's recent extended graphs of McCahon or of Scott in Assisi. Here she worked along­ visit to the USA. The watercolours himself form the background . . . side artists and writers from expand on the works she painted In another series Scott copies his America, , Belgium and Ita­ for the "5 Dames Show" staged at own early landscapes of South ly. Free from all responsibilities the Greymouth Gallery in 1989 Island scenes, done long ago in apart from that of her work Josie but reflect American experiences the early 1960's when he was a Jay-Martin found the time at the such as battling rain-soaked New contender for the annual Kelliher workshop highly productive. Yorkers driving through the lab- art prizes. In front of these back­ These works illustrate the artist's rynth-like Metropolitan Museum drops coloured rectangles are responses to an environment and of Modern Art. The artist refers to dispersed and on these are sten­ way of life in which she was a her works as "a collision between cilled archetypal scenes of New happy energetic participant. figuration and abstraction taking place in an artspace of bright Zealand life — marching girls, colour". rugby players, fern forests and beach scenes. A subtle shift in the focus between foreground and background causes the rectang­ les to float, strangely disembo­ died snapshots from our collective subconscious. With these new paintings Scott is experimenting; searching through the juxtaposi­ tion of images and colour fields, for a new dynamic, the holy grail of post-modernism". (Warwick Brown)

"Mt Eglington — To Live and Die in God Zone" 1990, acrylic on canvas Ian Scott "Mind Over Matter"

ASHLEY SMITH PAINTINGS "I'm intrigued by the fact that Moa Hunters once stalked across our land, here near the Hurunui Mouth. I've come to recognise the secret character of a nearby stand of macrocarpas. The works in my show feed off recurring motifs from the land, the times, the mythology. At this point in my life I felt that I could deliver some serious insights into the fabric of these things. Fortunately this hasn't quite happened".

"Winter Feed", Ashley Smith 2 - 2 3 DECEMBER1990 PREVIEWS TUESDAY 11 DECEMBER 8pm

dynamics of the high plateau and MAURICE the seasonal patterns of land and CHRIS water. He has followed melting ANGELO snow through mountains, canals, LANGLEY dams and lakes and seen the PAINTINGS MIXED MEDIA Maurice Angelo is a landscape energy cycle that is generated. architect and artist whose work is This exhibition records his inspired by the McKenzie Country. observations, ideas and feelings His paintings reflect its stark au­ about this energy, and captures stere beauty and the feelings en­ them on canvas. gendered by the never-ending Maurice Angelo landscape. He has studied the CHRISTMAS STOCK SHOW PAINTINGS

"ANOTHER WORLD' RUTH HEYWARD PHOTOGRAPHS Ruth Heyward has been photo­ graphing St Matthews Church, Fernside for more than three years. Enjoying the contrast be­ tween the small modest old church and the great Canterbury sky she began to photograph other chur­ ches in Canterbury but was al­ ways drawn back to St Matthews. These works concentrate upon this country church and its vast surroundings. "ENERGY CYCLES"

Acknowledgements: Thanks to the Robert McDougal Art Gallery for COLLECTORS GIOVANNI the use of archival material and Jim and Mary Barr for MARKET INTRA, IAN allowing us to make use of PAINTINGS and reproduce sections of An opportunity to see spme paint­ HUGHES AND ings, prints and sculpture that "When Art Hits the Head­ hasn't seen the light of day for a JANE while, almost all for sale and to lines", A Survey of Con­ suit all tastes. It will be fascinating, troversial Art in New Zea­ awe inspiring, repellent, hilarious SINGLETON and that's just the catalogue! The SCULPTURE land, National Art Gallery, works, of course, will be as the Wellington, 1987. artist intended. SELLING GALLERY

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Arts Centre, 20 Worcester Street 83 Victoria Street, City. Telephone: 795-710 Fax: 655-701 Mon - Fn 10am - 5.30pm, Sat 10am - 4pm With the support of the Queen Elizabeth II Arts Council of New Zealand E VAUGHAN ANTIQUES

Importers of fine period & country furniture, clocks, and decorative items.

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Restoration service provided.

83 VICTORIA STREET MEMBER CHRISTCHURCH N.Z. N.Z.A.D.A. (Your guarantee of quality) TELEPHONE 798-521